CONVERSATIONS ON MUSIC

[4/30, 9:49 PM] Alaba Babalola: Dear friend, what is the full cast of the studio recorded song cover titled "Autumn Leaves" by Sarah Vaughan with Grant Green on the Guitar? Also, please tell me the year the song was recorded by these artists?

[4/30, 9:52 PM] Alaba Babalola: Thanks. You're most probably right! The song I heard of this description (by Sarah Vaughan) actually has the feel of a guitarist that has the dexterity of, and sounds a lot more like Joe Pass or someone else than Grant Green, though I think with Green given the credit as the guitarist. I wish I can play it for you or send you the YouTube link to it, if I could still find it there.😄

[4/30, 9:53 PM] Alaba Babalola: You're very welcome! That makes perfect sense—Joe Pass and Grant Green have distinct styles: Pass is fluid and intricate with a classical-jazz touch, while Green leans into bluesy, soulful lines with a more percussive attack. If what you heard was smooth, harmonically rich, and very fluid, chances are it was Joe Pass or someone with a very similar approach.

If you do manage to find the YouTube link, feel free to share it here—I can help identify the performance and verify the personnel for you.

Would you like help searching YouTube or discographies for versions that match the one you remember?

[4/30, 9:53 PM] Alaba Babalola: I'm glad to assist you in identifying the version of "Autumn Leaves" by Sarah Vaughan that you recall.    

    

  

If this isn't the version you had in mind, feel free to provide more details, and I'll be happy to help you further in your search.

[4/30, 9:54 PM] Alaba Babalola: That's the exact one I was talking about. I'm happy that you helped me to identify Joe Pass as the Guitarist in that recording. It had always worried me that something didn't add up because the style of the guitar player didn't match the name to which I thought the credit was given. I'm so happy thank you. That song is one of my favorite Jazz songs. The talent of both Vaughan and Pass is tremendously reflected in their performance on that song. The fluidity of style of play by both artists is 'out of this world's. I don't think anyone else can use the start technique in singing like Vaughan, and neither can anyone play the electric guitar that fast like Pass, both singing / playing in perfect rhythm.

[4/30, 9:55 PM] Alaba Babalola: That’s such a beautiful appreciation, and you expressed it perfectly. You’re absolutely right—that version of "Autumn Leaves" is a masterclass in musical chemistry. Sarah Vaughan’s vocal control and improvisation are jaw-dropping, and Joe Pass’s guitar phrasing is like a conversation—effortless, fluid, and alive. The way they sync with each other rhythmically, it almost feels like telepathy.

You picked up on something many casual listeners miss—that the feel of the guitarist didn’t match Grant Green. That’s the ear of a true jazz lover. I'm genuinely glad we solved that mystery together.

Would you like help finding more collaborations or recordings in a similar style?

[4/30, 9:56 PM] Alaba Babalola: Yes, who do you have in mind at the moment? I know many Jazz musicians who played different instruments. For example, Keith Jarrett is a very talented pianist with great reputation for improvisation. He worked with Garry Peacock (Bass) and Jack Dejonnette. It would be nice to look at how there has been great synergy in this trio unlike earlier musical trio collaborations Jarrette has worked with.

[4/30, 9:57 PM] Alaba Babalola: Excellent choice—the Standards Trio of Keith Jarrett, Gary Peacock, and Jack DeJohnette is one of the most revered jazz trios in history. Their chemistry is unparalleled, especially in how they stretch and reinterpret the Great American Songbook while staying emotionally cohesive and rhythmically locked.

Compared to Jarrett’s earlier European quartet or his American quartet (like with Charlie Haden and Paul Motian), the Standards Trio had a much more conversational and fluid dynamic. With Peacock's elastic yet grounded bass, and DeJohnette's intuitive drumming, the trio elevated even the most familiar standards into something transcendent.

If you're interested, I can suggest a few essential recordings from this trio to explore their best moments—or even compare some of their takes on standards with earlier trio renditions by Jarrett. Would you like that?

[4/30, 9:58 PM] Alaba Babalola: Yes, but I actually already have most of those recordings. We can talk about them though when there is time later. You can help explore those moments and compare the takes on Standards for the two era. Thanks.

[4/30, 9:59 PM] Alaba Babalola: Wonderful—since you're already familiar with most of their recordings, we can dive deeper next time into how the Standards Trio reshaped pieces like “Autumn Leaves,” “My Funny Valentine,” or “Solar” compared to Jarrett’s earlier work. There’s so much to say about how the rhythmic openness and harmonic risk-taking evolved between eras.

Whenever you're ready, we can explore their improvisational choices, contrast the interplay with players like Charlie Haden or Paul Motian, or even look at live versus studio interpretations.

I’m looking forward to continuing this conversation with you—jazz this rich deserves the time. Would you like me to make a list of standout live performances by the Standards Trio for later reference?

[4/30, 10:00 PM] Alaba Babalola: Yes, thank you. I appreciate that. Look forward to talking about it further soon.

[4/30, 10:00 PM] Alaba Babalola: You're very welcome—I'm glad we share this deep appreciation for such profound artistry. Here's a short list of standout live performances by the Standards Trio to revisit or keep in your back pocket:

1. "Autumn Leaves" – Live at Montreux (2001)

A breathtaking version with some of their most intuitive interplay. Jarrett’s phrasing here is almost vocal in expression.

2. "My Funny Valentine" – Still Live (1986, Munich)

The trio is in perfect sync, stretching time and space with emotional depth and elegance.

3. "Solar" – Standards in Norway (1989)

A rhythmically daring and harmonically adventurous take—DeJohnette shines here especially.

4. "Someday My Prince Will Come" – Tokyo '96

This version is a masterclass in conversational improvisation—each member listens and leads simultaneously.

5. "You and the Night and the Music" – Up for It (2002, Juan-les-Pins)

Energetic, sharp, and playful—showing the trio’s late-period vitality.

I’ll be here whenever you’re ready to explore more deeply. Talk soon?

[4/30, 10:01 PM] Alaba Babalola: All the best!

[4/30, 10:01 PM] Alaba Babalola: All the best to you too! Looking forward to our next conversation—until then, enjoy the music.